Discovery and Material Study of the Missing Feet Part from Magritte's L
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Defeyt et al. Herit Sci (2019) 7:96 https://doi.org/10.1186/s40494-019-0338-y RESEARCH ARTICLE Open Access Discovery and material study of the missing feet part from Magritte’s L’évidence éternelle of 1954 Catherine Defeyt1* , Francisca Vandepitte2, Elodie Herens1 and David Strivay1 Abstract One of the two missing canvases from L’évidence éternelle of 1954, the one of the feet, has been discovered beneath a small woman portrait painted in 1958, La toile de Pénélope. Indeed, the underlying woman’s feet revealed through the IRR and XRR images leave little doubt about the identity of the hidden composition. All the more so as the canvas dimensions perfectly match with the format ascribed to the feet part in the diagram Magritte made of the 1954 vari- ant of L’évidence éternelle. This paper presents the main results of the material study conducted on La toile de Pénélope by means of non-invasive and complementary imaging and analytical techniques. Furthermore, it proposes a virtual colorized reconstruction of the hidden picture, built on the basis of the XRR and IRR images, the elemental informa- tion provided by the MA-XRF analysis, the Raman results and the microscope examination of the painting surface. Keywords: Magritte, Painting, Non invasive Introduction outstanding issues. Te specialists of the Belgian surreal- In the framework of the project Magritte on practice ist are then faced with a challenging task; the assessment (2015–2018), 50 oil paintings and 10 gouaches made by of the importance and the signifcance of the lost works. the artist between 1920 and 1967, and housed by the In that respect, the extended number of RMFAB paint- Magritte Museum (Royal Museums of Fine Arts of Bel- ings investigated through complementary imaging tech- gium—RMFAB), have been investigated in situ by means niques has greatly increased the chances of discovering of a mobile lab equipped with a large panel of non-inva- double paintings. Indeed, six double oil paintings have sive methods. Te implemented imaging and analytical been discovered within the Brussels corpus [2, 3]. techniques are: infrared refectography (IRR), X-ray radi- One of them is La toile de ◦Pénélope (René Magritte Cat- ography (XRR), high resolution visible and UV light pho- alogue Raisonné (RMCR) n 893 [4], RMFAB inv. 11699), tography, Raman spectroscopy (RS), digital microscopy, a small woman portrait executed in 1958, for which the and scanning X-ray fuorescence (MA-XRF). IRR and XRR images revealed the presence of two wom- Amongst the axes of research developed in the project an’s feet lying beneath the painting surface (Fig. 1a). Te there was the discovery of double paintings. Indeed, David discovered feet have been rapidly identifed as part of the Sylvester pointed out the fact that Magritte routinely third and last variant ◦Magritte made of L’évidence éter- reused the canvas supports from previous paintings. A nelle in 1954 (RMCR n 807 [4]). practice the author has correlated with the artist’s fnan- Tis paper presents an overview of the results obtained cial difculties, persisting until the 1940s [1]. Te quantity for La toile de Pénélope, which includes the current pic- and the quality of the overpainted compositions remain ture and the feet lying underneath. Te combination of imaging and analytical methods permitted collection of substantial information about the appearance of the *Correspondence: [email protected] hidden composition. Te present paper proposes a vir- 1 UR Art, Archéologie, Patrimoine, Université de Liège, 4000 Liege, Belgium tual colorized reconstruction of the lost ffth part from Full list of author information is available at the end of the article L’évidence éternelle, on the basis of these outcomes. © The Author(s) 2019. This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creat iveco mmons .org/licen ses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. The Creative Commons Public Domain Dedication waiver (http://creativecommons.org/ publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated. Defeyt et al. Herit Sci (2019) 7:96 Page 2 of 8 Fig. 1 La toile de Pénélope La toile de Pénélope, 1958, oil on canvas, 24.6 14.8 cm, RMCR n◦ 893 , RMFAB inv. 11699 ©Charly Herscovici, Belgium. a × visible image, b IRR image, c XRR image. The IRR and XRR images unveiled the presence of two woman’s feet beneath the current picture Experimental twelve investigated sites, with the lowest laser power necessary to obtain valuable results (ca. 30 mW). Te A high-resolution photographic documentation was frst ® gathered. Te full size images in visible light and under recorded spectra were treated using GRAMS . Data and ultra violet light have been acquired by using the home- images were all acquired on the museum site thanks to ® made scanning system of the CEA [5] and a D7500 Nikon the CEA mobile lab. ® camera with an AF-S Micro Nikkor 105 mm Nikon Results and discussion objective. Each close-up is recording a 4 cm × 3 cm area of the painting. Te images are then stitched as a pano- Te IRR and XRR images recorded for La toile de ® rama view with PTGui software . Tese photographs have Pénélope, (Fig. 1) revealed straightaway the presence of been enriched by X-ray radiography and infrared refec- two woman’s feet beneath the visible portrait. Te dis- tography images. Additionally, the painting surface has covered feet and the way they are displayed, undeni- ® been examined with a digital microscope ( Dino-Lite ). ably appear connected to L’évidence éternelle, a truncated In order to obtain further details on the hidden compo- female nude composed of fve separate small canvases,◦ sition and to get a better understanding of the pigments Magritte frst painted early on his career ( RMCR n 327 distribution through elemental maps, X-ray fuorescence [10]) and reproduced twice afterwards (Fig. 2). (XRF) spectroscopy was used in macro scanning mode Te prototype executed in 1930, possibly inspired by (MA-XRF). Te XRF scan of the whole painting has been Salvador Dali’s portraits enclosed in human body shapes, completed in approximately 8 h by using the CEA trans- shows a truncated nude of Georgette Magritte, painted in lation stage and homemade XRF system [6, 7], made of a a three-quarter view (Fig. 2a) [10]. In 1948, Magritte com- ® Moxtek Magnum X-ray tube (50 kV) (with a Ag anode), pleted another version of the work in which the model ® 2 a detector X-123SDD Amptek ( 25 mm ), with a resolu- (still not identifed) is portrayed in a frontal view (Fig. 2b) tion of 130 eV at 5.9 keV. Scanning step was set to 1 mm, [11]. We know from Sylvester that a third and last variant speed to 3 mm/s. X-ray tube was set to a voltage of 40 kV of L’évidence éternelle was attempted by Magritte in 1954 and a current of 120 µA. Spectra were treated in batch [4]. However, the entire completion of this late version mode using PyMCA [8], allowing separation of the sig- remained uncertain since, until recently, only three can- nals from the diferent chemical elements. vases have been traced (Fig. 2c): the face, the breast and Te analyses by Raman spectroscopy (RS) were per- the knees. Te canvas of the face corresponds to a small ® formed with the Enwave Optronics setup (portable woman’s portrait subsequently titled La ressemblance, Raman analyzer I-Dual-G), using a laser at 785 nm [9]. and stayed with Magritte until his death (Fig. 3a). Unfor- Tree Raman spectra were acquired for each of the tunately, its model, a young blond woman had not been Defeyt et al. Herit Sci (2019) 7:96 Page 3 of 8 Fig. 2 L’évidence éternelle. a L’évidence éternelle, 1930, oil on fve canvases, 22 12, 19 24, 27 19, 22 16, 22 12, RMCR n◦ 327 [10] ©Charly × × × × × ◦ Herscovici, Belgium. b L’évidence éternelle, 1948, oil on fve canvases, 25.5 19.5, 19.3 32, 27 20.2, 20.5 26.6, 26 18, RMCR n 640 [11] × × × × ◦ × ©Charly Herscovici, Belgium. c L’évidence éternelle, 1954, oil on canvases, 20.5 15.6, 16 28, 21 20, RMCR n 807 [4] ©Charly Herscovici, Belgium × × × Defeyt et al. Herit Sci (2019) 7:96 Page 4 of 8 Fig. 3 La ressemblance. a René Magritte posing with La ressemblance in the Mimosas house, in 1954, MRBAB/AACB, inv. 39739 ©Charly Herscovici, Belgium. b Project draft of L’évidence éternelle enclosed with a letter Magritte sent to Alexander Iolas in 1954 (Magritte archive, The Menil Foundation, Houston) Defeyt et al. Herit Sci (2019) 7:96 Page 5 of 8 identifed. Te artist ofered the canvas of the breast and with the background color found in the part of the knees the one of the knees to Suzi Gablik, a young American (Fig. 4b). In the light of this outcome, the purple signature author who lived with the Magrittes for eight months in afxed in the upper right corner of La toile de Pénélope 1960 [12]. Gablik kept the canvas of the knees and sold (Fig. 5a) can be seen as a deliberate reminiscence of the the one of the breast to Robert Rauschenberg [4]. sacrifced picture. Te subject and the framing of the picture found Te examination of the painting surface with raking beneath La toile de Pénélope, but equally its size leave lit- light unveiled Magritte’s signature from the lost picture tle doubt about its provenance.